Since her musical and ballet studies (Reims), and her early music studies in Boulogne-Billancourt’s Conservatoire National de Région (two degrees in harpsichord and basso continuo in 1995), Marie-Pierre Brébant’s practice of Renaissance and Baroque repertoire has taken many forms: as a dancer (particularly with Béatrice Massin from 1997 to 2001), as a musician (harpsichord and organ) as part of orchestral and chamber music ensembles, as a ballet classes accompanist (Centre National de la Danse) and as musical director for the baroque ensemble Sept Mesures de Soie until 2012. At the same time, her particular interest for music as a single artistic form beyond entertainment or background music led her to perform in shows directed by artists such as Richard Foreman (“Don Giovanni”, Mozart), François Hiffler and Pascale Murtin, Sophie Perez and Xavier Boussiron (amplified spinet in “Laisse les gondoles à Venise”; castanets in “El coup du cric Andalou”; Wurlitzer and piano in “Gombroviczshow”; celtic harp and clavichord in “Oncle Gourdin”; Nord stage keyboard in “Prélude à l’agonie”) or Théo Mercier (harpsichord in “Radio Vinci Park”, 2016). She recorded personal musical adaptations of, for example, The Doors for harpsichord and voice, or Belà Bartok’s “Mikrokosmos” for electric guitar and harpsichord. Marie-Pierre Brébant plays Ukrainian bandura in “Symphonia Harmoniæ Cælestium Revelationum”, a show inspired by Hildegard von Bingen’s musical work that she created in collaboration with François Chaignaud at Brussel’s Kunstenfestivaldesarts in May 2019.
As of March 2020